Show Notes

Here you will find transcripts, notes, and links to sources or resources for each episode.  If you want to know before listening to the episode or reading the transcript whether a movie is poly or not (perhaps to avoid spoilers), look for the Poly-ish Movie Reviews logo next to the title of the movie on each Show Notes entry.  If the movie has some kind of poly content, you will see the logo.  If the movie is rejected for no poly-ish content, you will not see the logo.  Additionally, you can also visit the Poly-ish Movies tab to see the complete list of verified poly-ish movies, whether that movie has been reviewed or not.

Show Notes will be posted after the audio episode has been released on iTunes and Stitcher.  I will try to post the Show Notes on the same day, but occasionally the Notes may be posted some time later.

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Episode 26 - The Wedding Banquet

posted Jul 16, 2017, 12:32 PM by Joreth InnKeeper

The Wedding Banquet (1993)

www.imdb.com/title/tt0107156/ - Internet Movie Data Base
www.netflix.com/title/60011421 - Netflix
http://amzn.to/2uoDg3C - Amazon

The DVD summary says "Successful New Yorker Wai Tung and his partner Simon are blissfully happy, except for one thing: Wai Tung's conservative Taiwanese parents are determined he find a nice girl to marry! To please them and get a tax break he arranges a sham marriage to Wei Wei, a sexy go-getter in need of a green card. But when his family swoops down for the extravaganza, Wai Tung would do well to remember that at a traditional Chinese wedding banquet, sexual repression takes the night off!"

I was actually prepared for this to be a crappy movie. I expected the summary to be like so many others - vaguely written so I could interpret it as suggesting a potential poly story, get me hopeful, but ultimately to let me down with sex-negative values and a cautionary tale against bucking "tradition".

I am so happy to have been wrong.

One of the benefits of polyamory, in my opinion, is that polyamory is a fundamental change of mindset on what makes a "family". Regardless of what form any given poly group takes, or even what any individual thinks "counts" as polyamorous, the underlying requirement for polyamory is to be able to design your own relationships based on the needs and wants of the individuals involved. And I think that's a valuable paradigm shift no matter what relationship structure any given family group ends up as. With polyamory becoming a "movement", that is, a recognized word and concept demanding social acceptance, we are seeing more people designing their own relationships, whether they call it polyamory, or even whether it "counts" as polyamory, or not.

I think that families have always done this, but I think there has been more heartache and more lies to cover it up. The Wedding Banquet illustrates, not only the lies and heartache that goes into forcing a family group to look like it's "supposed" to rather than what it is, but also the changing climate of society where acceptance of alternative family structures makes for more happiness than adhering to "tradition" under the erroneous belief that "tradition" has always been so, therefore it's the best way ever, did.

Wai-Tung Gao is a Chinese immigrant and American citizen living in New York with his boyfriend, Simon. They have a stable, happy relationship and have been together for 5 years. But Wai-Tung's family is very traditional Chinese. Mr. Gao was a commander in the army and has survived a stroke only by the thought of living long enough to see his first grandchild. Mrs. Gao signs Wai-Tung up, without his permission, for every matchmaking service she can find in an effort to get him married, to carry on the family name and honor his family. They are completely unaware that Wai-Tung is gay and that he lives with Simon.

Mr. Gao invested in an apartment building for Wai-Tung to own and manage, and in the loft of that run down building lives Wei-Wei, another Chinese immigrant who is a struggling artist. Because Wei-Wei can't hold down a job and her art is not generating any income, she lives in substandard living conditions by renting the loft, which is not zoned for habitation, at a very low price. The building is a dump, the air conditioning and the water are always broken, and she has to call Wai-Tung all the time to fix things.

Wai-Tung takes pity on Wei-Wei, and lets her slide on the rent sometimes, even though she makes him uncomfortable by flirting with him and expressing envy that Simon has such a handsome boyfriend. Eventually, she loses yet another job, and when Wai-Tung comes over with Simon to install a new air conditioner, she confesses that she will have to move back to China because she has no money and she can't find a "stupid American" to marry her for a green card.

Later, Simon suggests to Wai-Tung that marrying Wei-Wei would solve everybody's problems. Getting married would get Wai-Tung's family off of his back, and Wei-Wei would have a green card and a place to live so that she wouldn't have to go back to China. Wai-Tung is resistant, but Simon convinces him to try it.

So they move Wei-Wei into their basement bedroom until the immigration process is over, and Wai-Tung tells his family that he's getting married. Things seem to be running smoothly, until Wai-Tung's parents announce that they're coming to America for the wedding. Naturally, everyone freaks out, but Simon takes it upon himself to coach Wei-Wei about the things a wife should know about her future-husband, and Simon and Wei-Wei switch bedrooms.

The parents arrive, and Wai-Tung goes through the charade, looking very uncomfortable every step of the way, but Simon watches over him a bit bemusedly. Simon never once exhibits any sort of jealousy or resentment, even when praise for Simon's meal all goes to Wei-Wei because part of the scheme is to convince his parents that she is a worthy wife, including being a good cook.

Now, a gay couple who needs a woman as part of the household is a pretty good place to start changing the social climate about what constitutes a family. I don't know that *I* would necessarily call it "poly", if it's only the two men who have a romantic relationship, but two men and a woman who share a dwelling and raise children certainly qualifies as "family" in my book. Especially when all parties are there with the blessing and welcome of everyone else. We can quibble about the fine print of whether it's poly or not, but I don't think it really matters in the long run. If a family of that arrangement wants to call itself poly, I see no benefit in arguing the point, and plenty of sex-centric and sex-negative harm in insisting on arguing the point.

The question comes in when this family is arranged for the purpose of hiding the true arrangement from other people, namely, the parents. Because of my opposition to the way marriage is handled in this country, I actually have no issues whatsoever with a couple marrying for the legal benefits that marriage offers, such as a green card. I know it's technically fraudulent, but since I have a problem with the whole foundation of a government tying legal benefits to emotional entanglements, I see no *moral* problem with this situation. So, that leaves us with the parents.

If it weren't for the parents, and the green card, the threesome would remain a twosome, and that's where the discussion of "is this poly?" comes in. That's what makes this situation more complicated than the hypothetical gay-couple-and-woman-form-a-family that I posed above. This arrangement is being done for the benefit of people who are not part of the relationship.

So, for about 2/3 of the movie, I was composing in my head the review for this movie with this in mind, leaning towards "not poly" but still a good movie - especially for those interested in LGBT issues. But then I changed my mind. I've decided this is, at the very least, poly-ISH, but in order to explain it, I will have to give away some spoilers.

SPOILERS:

It was Simon's idea for Wai-Tung and Wei-Wei to get married and, although he is against lying in the first place, because he loves Wai-Tung, once he has committed to the charade, he never wavers on that score. He never accuses Wai-Tung of turning on him, of switching teams, or of leaving him. He never accuses Wei-Wei of moving in on his turf, of trying to steal Wai-Tung, or of being a homewrecker. He embraces Wei-Wei as part of the family and does his best to smooth things along.

Wai-Tung's parents insist, as part of their family honor, on throwing a huge wedding banquet after Wai-Tung "shames" them with a quickie City Hall wedding. The fraud starts to weigh heavily on the bride and groom as they are forced to go through tradition after tradition, meant to cement the marriage and instill the pressure of honor and family on the couple. But Simon goes through it all, supporting the couple and keeping the peace. As the best man, he gets to remain by Wai-Tung's side, but never as the jealous secret, always as the supportive partner whose lover is in a difficult position.

His apparent enthusiasm for the wedding festivities is how I imagine any poly OSO would act when his partner marries another. It's how I imagine Franklin would have behaved if I had married my metamour Maxine for the health benefits - a business arrangement between trusted friends that he would celebrate and support. Even through the enforced kissing of the bride and groom, and the regular reminders of the hetero marriage while being completely ignored and left out by the entire wedding party who are unaware of his relationship to the groom, Simon faces the whole ordeal with good humor and compassion.

Wei-Wei has a crush on Wai-Tung from the beginning. As the farce continues, she is reminded over and over again how serious and important marriage is, and she seems to be having doubts. But as the banquet drags on, and the alcohol flows, she appears to leave behind the tension of her secret and falls into the role of the happy bride.

Eventually, the end of the reception draws near as wedding guests are passed out on the hotel ballroom floor and the bride and groom are obviously drunk and exhausted. The "happy" couple withdraws to their complimentary newlywed suite upstairs while Simon takes the groom's parents home. As Wai-Tung collapses on the bed, room service knocks on the door.

But it's not room service.

Too late to stop at Wai-Tung's command, Wei-Wei opens the door to yet another Chinese wedding tradition - the Newlywed Invasion. The peer group of the bride and groom invade the couple's room on their wedding night to drink and play games, both encouraging the consummation of the marriage and interfering with it. They bring card tables and folding chairs, and appear to be settling in for one hell of an all-night-long party. The guests demand that the bride and groom play little games, like blindfolding the groom and making him find maraschino cherries placed on the bride's stomach and chest with his mouth, while she writhes beneath him, tickled by his seeking.

Wai-Tung tries to get his guests to leave, and they finally agree to leave after one more game. The bride and groom are to get under the covers and take off all their clothes. The guests will not leave until every single article of clothing has hit the floor. So the couple complies, and the guests leave. Finally, Wai-Tung and Wei-Wei are left alone, naked, in bed together.

Wai-Tung starts to fall asleep, but Wei-Wei has other plans. In an alcohol-induced fugue, she seduces Wai-Tung and we are led to believe that they have sex.

After the wedding, Wai-Tung, Wei-Wei, and Simon go back to their pretend family while Wai-Tung's parents hang around for a couple of weeks. They end up staying much longer than planned because Mr. Gao's blood pressure is too high to risk flying. So now things start to get a little tense. Simon, although he still supports the sham that was his idea and still does not resent Wei-Wei, is nevertheless getting irritable at not being allowed to sleep next to his partner, and at having their sex life curtailed. Wei-Wei is getting cranky because she is required to sleep every night next to a man she has a crush on, knowing that he would rather be in someone else's bed. Wai-Tung is stressed out because his parents are still there, he is married to someone he didn't want to be married to, Simon is continuing his social life without him, and he has to constantly soothe everyone else's hurt feelings.

A couple more weeks later, we learn that Wei-Wei is pregnant from her wedding night. Simon throws a fit, but not because Wai-Tung had sex with Wei-Wei - Wai-Tung had already confessed to getting drunk and things getting "a little out of hand". No, Simon is pissed because Wai-Tung did not have *safe* sex, and now their family can't go back to normal after the parents leave, as was the plan. Simon decides that he is leaving when the parents do and Wei-Wei decides to have an abortion, since the marriage was never supposed to last anyway, so it's not fair to have a child in that situation - after all, once she has been granted citizenship, she will be free to divorce and marry again for love.

Then Mr. Gao has another stroke, and after watching his life fall apart around him, Wai-Tung finally confesses everything to his mother. She is devastated, she doesn't understand what she did wrong to get a gay son, and she insists that the father never be told.

One day, Simon is out walking with Mr. Gao. Simon regularly walks with and cares for him since his stroke. Mr. Gao says, in English, "happy birthday Simon" and hands him a red envelope. Simon, surprised, says "you speak English?" Mr. Gao has hidden this fact even from his son, who has had conversations and arguments in English around his parents, believing that they could not understand what was being said.

Simon opens the envelope and discovers a thick wad of U.S. bills. Suddenly, it dawns on Simon that red is the Chinese color for marriage, and that Mr. Gao gave this exact same gift to Wei-Wei when he arrived, as the traditional wedding present. [inserted video clip of the conversation between Simon and Mr. Gao].

The next day, Wei-Wei and Wai-Tung leave for the abortion clinic, and Mrs. Gao, suspecting what they're about to do, tries to stop them, or at least tries to go with them to make sure they are really only "going shopping". But the couple leaves without her. On the way to the clinic, Wei-Wei has a change of heart. She tells Wai-Tung that she wants to keep the baby, and if Wai-Tung wants to help, he can find her an apartment with no rent, but if he doesn't want to help, then to just stay out of her way.

Wai-Tung, upon hearing that he is about to be a father, decides that he will be a part of his child's life. But first, he should ask Simon how he feels. Wei-Wei agrees that they ought to talk to Simon.

Wai-Tung and Wei-Wei come home, and Simon approaches them, his face full of concern, and asks if everything went OK and how does Wei-Wei feel? [inserted move clip where Simon is asked to be one of the fathers of the baby].

And THAT'S where this movie became a poly movie for me.

Simon looks at them incredulously for a moment, then a tentative smile appears as he realizes what they're asking. The three embrace in a group hug. It became a poly movie here because it was no longer a business arrangement, and it wasn't even really a Vee anymore, in spite of who is having sex with whom. Even if, sexually, the arrangement is still two gay men and a single mother, the inclusion of Simon as a parental participant made this, to me, a poly family. It wasn't a gay couple and a single mother, and it wasn't a gay man with his lover, and his baby-mama as two arms in a Vee. It was a family of three parents. And that made it poly in my eyes.

Finally, the parents leave and the movie ends with the three main characters in a group hug, watching the parents go, with Wai-Tung in the middle.

Even though this movie ended happily with a baby on the way, I do not believe that it falls under the RBAMP fallacy (Relationship Broken Add More People). The group relationship was not hopelessly flawed and only "saved" by the addition of a baby. The group relationship actually worked just fine. At first, it was little more than a business arrangement, but the characters grew closer together as they lived together. The conflict came from outside, from the parents, who represented all of society and the social disapproval of alternative relationships. Once there was honest communication, and once the family was able to stand on its own and the parents left, things worked out just fine.

This movie touched me because I could relate to each of the characters, at different times in my life. I remember when I was too afraid to tell my parents about being poly. I know how stressful it is to not be acknowledged by my partner because he's afraid to tell his family about me. I also know, even though I disapprove of the lie, how to feel support and compassion for my partner and to aid him in the deception, for his sake. And, I know how it feels to have a crush on someone who doesn't return my feelings, and to be so poor and so out of options, that a business marriage seems like a perfectly reasonable solution.

This is yet another one of those fuzzy-border poly-ish situations. I enjoyed the movie, and I recommend watching it.


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Episode 25 - A Woman Is A Woman

posted Jun 17, 2017, 12:02 AM by Joreth InnKeeper

A Woman Is A Woman (1961) 
www.imdb.com/title/tt0055572/ - Internet Movie Data Base
https://dvd.netflix.com/Movie/70000934 - Netflix
http://amzn.to/2rfXqIt - Amazon

What do you get when you take two people who don't like each other, who want totally different things out of a relationship, who are pigheaded and argumentative, and throw them together in a movie with odd music cues that stop abruptly whenever there is dialog, and random breaking of the 4th wall?

It's a trick question because you already know that you get this movie.

What an odd, odd film. Maybe it was the era, or maybe it was the culture, but I totally didn't get this movie.

Made in 1961 in France, the summary says "Striptease artist Angela is desperate to have a child, but her boyfriend, Emile, isn't as anxious. Although he cares for Angela and wants to keep their relationship going, he is not ready for that kind of responsibility. Instead, he suggests that she get together with his buddy Alfred -- a proposal Angela ultimately accepts, to Emile's shock and dismay."

It was the "shock and dismay" that gave me such low expectations of this movie. It's hard to be confused and feeling like I've just wasted 2 hours when I went into the movie expecting it to suck. But it managed to exceed my expectations quite spectacularly ... in the worst way.

We meet Angela strolling through France. She runs into a couple of different guys, at least one of whom professes his undying sexual attraction to her. Another, we learn later, is her live-in lover. She is running late. We finally see that she is on her way to a skeezy little dive of a strip club, where she's about to perform. And, by "perform", I mean "sing a song about how gorgeous she is while taking off her sailor dress that involves the music coming to an abrupt halt whenever she has to sing, but starting up again when the verse ends". And it's not just this song, the whole first 20 minutes of the movie are like this, with music that the audience can hear but is not an internal part of the scene, stopping abruptly every time someone has a line. It was so jarring, it was as if the movie was made by a film student who was unable to mix music and dialog together so he just cut the track. Except that later, he does mix them together, so this must have been a deliberate choice.

So she does her little strip tease (if that's what passes for "art" in France, I'm afraid the country is deserving of all the cheap shots the English & Americans take at it), and then gets dressed backstage and goes home, where she putters around the kitchen as if to prepare dinner. But, the way it's done seems to be as if she had a secret life as a stripper and was coming home to a husband who didn't know anything about it. Her neighbor even made the roast they're having for dinner (her neighbor, the prostitute, who owns the only phone in the building).

But it's not a secret life. I'm not sure what kind of life it is, but it's not secret. So now we learn that Angela wants a baby, and when her partner, Emile, comes home, they have the most non-sequitur conversation I've ever heard that eventually results in Angela requesting a baby *tonight* and Emile refusing.  I've heard more sensible conversations between Alice and various insects and flowers than what I heard in this movie.

So Emile instead offers to have his friend, Alfred, father Angela's baby, which is why this got put on a poly movie list in the first place. Angela doesn't believe he's serious, so she takes him up on the offer, but Emile's pride won't let him back down.  So even though he doesn't want Alfred to father her baby, he yells out the window to Alfred and invites him upstairs anyway.

Alfred comes upstairs to an obviously upset Angela and Emile, and after some arguing, he is finally told why he was called upstairs. So he agrees, and he and Angela go into the bathroom, since there is no separate bedroom in their studio apartment.

While they're in the bathroom, Emile rides his bicycle around the dining room table and glares at the door, and Angela and Alfred make halting and awkward conversation in the bathroom. Eventually Alfred leaves without getting any, and he and Emile go out for drinks & to pick up chicks while Angela sits at home and broods.

The two men find a couple of women who seem extremely pissed off to be there, and the guys drag the girls to the strip club where Angela works, only to find Angela already there and hitting on a guy who seems totally uninterested in her. As far as I can tell, Angela and Emile live across the street from the strip club, the bar, the TV store, the newspaper stand, the bookstore, the restaurant, and Alfred, judging by how often they run out to the various locations and how quickly they get from place to place.  Also, there's a couple who have been stapled together at the mouth and pinned to the wall outside Emile's and Angela's apartment building, presumably as a warning from a fascist government with overzealous police as a warning against public kissing.  At least, I assume that's what happened, since they don't move throughout the entire 2 days of the movie, not even to change clothing.

Anyway, Angela randomly gets up in the middle of one of the girl's "dances", shouts "you disgust me" and runs out of the skeezy strip club, while Emile sits at the table with his unwilling date, smokes, and glares at Angela exiting from across the room.

I thought the non-sequitur argument earlier was strange, but I didn't know from strange! Next is Angela and Emile going back and forth between calling each other darling and bastard. The two climb onto their tiny mattress on the floor to go to bed, each one having to say "no, we're not talking" last. Then Angela gets back up, turns on the light, carries it with her to the living room, grabs a book, brings it back to bed, and holds it up accusingly at Emile. She covers the title so that the only word visible is "monster".

So Emile grabs the lamp, drags it into the other room, selects a book, brings it back to bed, and writes on it "go to hell". Then they both jump up, grab an armful of books, and proceed to cover up titles and show books to each other calling each other names and basically telling each other to fuck off.

The next day, Angela is still begging for a baby and Emile is still insulting her. He goes off to work, and Alfred calls Angela and asks her to meet him at a bar. So she does, and she flirts, and Alfred tells her that he loves her, but she doesn't believe him. Then we spend the next 3 minutes watching Angela smoke and give puppy-dog eyes at a photo of Emile on a date with the woman from the night before, while the most horrendous song plays on the jukebox.  I know it's horrendous, because the director made a point of featuring this song with absolutely no dialogue to interrupt the lyrics, which included things like "you've let yourself go" and "I don't know what I ever saw in you" and "you disgust me" and "your curlers are ugly, you need to exercise".  

Eventually, Angela tries to leave, and tells Alfred to wait on the street outside of their building and to watch the window blinds. If she lowers the blinds within 5 minutes, it means she's coming back down to sleep with Alfred, but if she leaves the blinds up, it means that they've made up and Angela is not coming back to Alfred.

He waits.  And waits.  And waits.  And waits.  Another strange thing about France is that it is apparently custom for men to approach a stranger on the street who is smoking, hold out their own cigarettes, and expect the stranger to light their cigarettes for them using his own cigarette.  Because that's what Alfred does for approximately 2,493 passersby.  Or maybe it's just 6.  Either way, it was weird.

Angela and Emile have another one of their non-sequitur arguments on the stairs outside of their apartment where they call each other names, then kiss, then pout, then kiss, then name-call again. Eventually Alfred gives up, and Emile storms out. So Angela goes to Alfred's house with the intention of sleeping with him. Emile comes back home, finds Angela gone, and calls Alfred's house to find her.

He passes along a message to Angela that she understands to mean that Emile is leaving her. So she gets up, gets dressed, and leaves Alfred. Angela comes home, walks around the house, turning on her heel whenever Emile steps in her path, and eventually backs herself into a corner. She finally confesses to sleeping with Alfred, which pisses off Emile (remember, it was his suggestion in the first place). So now, angry at each other and just after Angela's confession, they get undressed and climb into bed together!

The lights go out, and then come back on, and the two go back to the bookshelves. Only this time, Angela holds up a book that says "Even if you don't still love me, I still love you". So Emile thinks about things for a while, then suggests that, if he hurries and fucks her, maybe the baby will be his instead of Alfred's. Angela agrees. They have sex, and when the lights come on again, Emile says "close call!" and laughs.

Angela asks why he's laughing, and he says "Because you are shameless". She replies "Am I not a woman? I am a woman". And that's the end.

What. The. Fuck.

Not poly. Yet another totally dysfunctional unhappy couple who dislike each other, whose pride backs them into a corner, and where infidelity and a baby fixes everything. Bizarre dialogue, strange audio cuts, random addressing of the camera for no apparent reason, and even an odd cameo that has nothing at all to do with the plot (but is from another movie on the various other "poly movie" lists online). Maybe people who are into artistic indie and foreign films will get this movie. I did not.


 
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Episode 24 - Trois

posted May 15, 2017, 9:16 PM by Joreth InnKeeper   [ updated Jun 13, 2017, 8:46 PM ]


Trois (2000) 
www.imdb.com/title/tt0217107/ - Internet Movie Data Base
https://dvd.netflix.com/Movie/Trois/60001053 - Netflix
www.amazon.com/Trois-Gregory-W-Anderson/dp/B00004XOO0/ - Amazon

Content Note: This review contains the sardonic use of ableist language & possibly sex-negative sex worker language intending to mock the sorts of writers who use "crazy" as a scapegoat and their poor depiction of mental illness as well as their obviously one-dimensional and low opinion of sex work. I am using the language to describe what the *writers* of these sorts of behaviours think and by using these words, I am intending to show my disapproval and contempt for this viewpoint in my tone. I apologize if my intention does not come across or if readers are unable to read or listen because of the language.

Is it possible for someone with an American accent to say "ménage à trois" and not sound pretentious? I have yet to hear it.

While adding Poly movies to my queue, Netflix recommends "similar" movies to watch. Most of the ones recommended on the basis of poly movies sound pretty awful, but if there's a chance it's a hidden poly movie, I add it to the queue too. Trois sounded like one of the awful ones, and I wasn't disappointed.

The summary says "Seeking to put excitement into his humdrum sex life, young Atlanta attorney Jermain Davis pressures his reluctant wife, Jasmine, to engage in a ménage à trois with curvaceous bisexual stripper Jade Owens. But the choices made by each of them soon expose deep wounds and come back to haunt them in this steamy indie thriller.

Let me tell you just how bad this movie was. It was so bad, that the movie isn't even over yet and I've already started writing this review.

This was not a poly movie. This was a cautionary tale against non-monogamy, against same-sex desires, and against kink. This was a third-rate Fatal Attraction. In addition to it being completely sex-negative, it was also poorly written.  As per my usual pattern, if the movie sucks and I don't think you should bother, I'm going to spoiler the hell out of it because fuck this movie.

Jasmine is a young wife, married to an up-and-coming lawyer, who has just applied to grad school. She works with battered women and has regular nightmares about her own abusive relationship. Jasmine wants nothing more than to have her husband hold her.

Jermaine wants to have a threesome with his wife, but he insists that he just wants to share something "freaky" with his wife and that it's not about the other woman at all. He tries to explain that it's not about the other woman, that he's just trying to be honest about his sexuality and he thinks his marriage is strong enough to handle anything. Considering it's a movie, I thought that was a pretty good start, in spite of the whole forgetting-the-other-woman-is-a-person-too thing. But then they both make one mistake after another.

Jasmine just won't talk to Jermaine. She won't tell him what her nightmares are about, she won't tell him that she doesn't want sex but that she wants to be held, and she won't tell him how his request makes her feel. She just gets mad at the request.

Eventually, Jasmine talks to her best friend about the threesome idea, and her friend actually convinces her that, not only can threesomes be fun, but that it's Jasmine's duty to her husband. The scene with each spouse talking to their respective best friends about their motivations is like textbook sexism - the dialog is absolutely classic Men Are From Mars, Women Are From Venus - the guys just want some sex and the women just want to be held. I swear, these writers have never actually TALKED to women.  It's my not-so-secret hypothesis that most people who become script writers do so because they don't have real connections with real people.  So they make up shit based on what they *think* other people do and say and feel, without really knowing anything about real people.  Movies like this are why I suspect that. 

 Later that night, Jasmine wakes up from one of her nightmares about being beat by her ex-boyfriend, but when Jermaine tries to get her to open up and talk to him, Jasmine agrees to the threesome "for her man", mostly to distract him from probing about her secret abusive past.  Jermaine immediately drops the subject of nightmares and why his wife won't confide in him and the next day has his buddy fix him up with a stripper he knows. Yeah, we can see where this is going. Next, we meet the stripper, Jade. Our introduction to her is at a bar, drunk, and her baby-daddy shows up with a subpoena to take her kid away from her. 

The writer went out of their way to set up Jade as a "crazy bitch". So, the not-so-happy couple meets up with the "crazy stripper" and they have a threesome. The next morning, Jasmine wakes up, regretting her night and now harboring fears that she might be gay, or "freaky", because apparently both options are horrible. As Jasmine gets weird about their threesome, Jermaine confides in his buddy that the threesome was great, but the aftermath wasn't so great. In the process of trying to figure out what happened, the buddy ends up sowing suspicion in Jermaine's mind about his wife and Jade. So Jermaine stays out half the night drinking.

Meanwhile, Jasmine is back at home having battered nightmares and wakes up to find herself alone. For some reason, this vanilla, likable, popular woman doesn't call up her family or friends for support. She calls up the stripper from the freaky weekend that made her feel all confused and upset and goes out with her. So when Jermaine finally comes home, he finds an empty house.

The next morning, after calling Jasmine's dozens of friends looking for her, he finally thinks to call Jade as a last-ditch effort and learns that his wife did, indeed, turn to Jade for support, which only cements his suspicions ... of what, I'm not entirely sure - that Jasmine is cheating on her husband with the woman her husband insisted she sleep with?  But Jermaine gets jealous, and when Jasmine finally comes home, he begs her to promise him that nothing happened between Jasmine and Jade and that nothing WILL happen between them.

So, now that things could have been settled, we go back to Jade, who needs a babysitter for her kid because she's about to lose the kid in her custody battle, so she can't go out hitting the bars and leaving her 4-year old son at home alone anymore ... at least until the court hearing is over. So her boyfriend suggests that Jade ask Jasmine to babysit, since Jasmine "seems like a homebody". Jade calls up Jasmine, but Jermaine answers. Instead of being polite and honest, Jade demands to speak to Jasmine, telling Jermaine that it's none of his business why she's calling and that Jasmine is a grown woman who can make up her own mind. Yeah, like that's gonna go over well.

Of course, Jermaine tells Jade to leave them alone or he'll put in a bad word for her with the judge in her custody case. So Jade throws a huge, screaming tantrum, throwing things, and pretty much destroying her own house. Her boyfriend comes out of the bathroom to find out what the problem is, and when he attempts to calm her down, Jade pulls a gun on him, aimed at his dick, and tells him to get out. By now, I'm rooting for the baby-daddy to win the kid in court.

Next we see a series of increasingly aggressive "pranks" being pulled on Jermaine. The Chinese food he orders for a business lunch is actually boxes of worms, his car gets egged and his tires get slashed, stuff like that. One night, Jermaine and Jasmine are taking a romantic bubble bath, and we see a shadow outside of the bathroom window. The next morning, Jermaine finds one of Jade's hairpins in the trampled rose bushes. So Jermaine pulls some strings, and the judge orders the child to be made a ward of the state until either Jade gets a steady job, or the baby-daddy stops travelling (he's a baseball player). Stupidly foolishly, Jermaine is waiting outside the courthouse so that Jade can see him when she comes running and screaming outside, scratching up her face and neck in her grief.

Next, a massive fucking rattlesnake lunges up out of the foot-well of Jermaine's car while he's driving, sending him to the hospital. So Jermaine puts a restraining order on Jade as soon as he's out of the hospital. While he's at home recovering, Jasmine gets a special delivery VHS tape of her husband fucking some girl in Jasmine's own car.

Now, at this point, I was already on my laptop and writing this review, so the couple of clues before this point caught my attention, but I didn't put it together until this now. How would some unknown stripper have gotten into a legal office to place the stupid trite and cliché pseudo-ransom-font threatening letter in Jermaine's inbox during business hours without anyone noticing? How would she have known enough about their business lunch to have set up the whole worm thing? And now, how could this woman, who was only introduced to them the night of their threesome, have gotten a video tape of something illicit that supposedly happened years before*? Hmm, could it be that the writers only gave us a totally "psycho patsy" to throw us off the trail؟

So now Jasmine has had enough and she wants a divorce. But Jermaine begs her not to leave him, and to prove that he knows he was wrong, he'll leave her instead. And go right over to Jade's house to beat her unconscious! Jermaine comes back to beg Jasmine to just stay with him for that night, when lightening flashes, rain comes pouring down, and the fucking lights go out.

Seriously.

They hear a noise in the other room, so Jermaine goes out to investigate. Someone in all black with a black mask jumps him and a fight ensues. Jasmine tries to call the cops, but the phone is dead, so she grabs the gun hidden under the bed (do all writers just have no experience with firearms? Why else do they give people guns with no establishing story for why white collar pacifists would have a gun and make them hide them under the mattress? And revolvers? Really؟).

So Jasmine bursts out of the bedroom with a gun, telling the bad guy to back off (don't pull out a gun as a defense unless you're going to use it!), giving him time to pull of his mask and reveal ... Jasmine's old wife-beater boyfriend ... and Jermaine's "buddy" from work who set the whole threesome thing up in the first place.

Next follows the usual bad-guy exposition where everyone has weapons but no one is using them because the bad guy has to explain why he's doing what he's doing and to take credit for every misdeed in the movie.  He told Jasmine years before, while she lay on the floor, bleeding and that if she ever left him, he'd "find her ass".  Jasmine is so distraught over seeing him again, that she DROPS THE GUN and just starts crying.

Jermaine goes for Eric's gun, and while they wrestle, Jasmine finally notices that she's dropped her gun and picks it up. Of course, there's a gunshot while the camera isn't pointed at anyone, so we are supposed to sit there and wonder who got shot for a moment. Of course, it's Jasmine. So Jermaine lets go of Eric while Eric goes completely off his rocker, randomly pointing the gun at his own head and then to Jermaine, and back again, screaming something about how they all have to die now.

So, rather than picking up the gun that Jasmine has dropped again, Jermaine stands up, takes his fucking shirt off, and screams "you wanna kill me? Go ahead and kill me motherfucker!" while Eric stands there looking "crazy". Another gunshot, again while the camera isn't on anyone, and surprise surprise, Eric is shot.

As he falls down, he reveals barking moonbat Jade standing behind him screaming "you thought you could put your hands on me and I wouldn't come and getcha?" But Jermaine promises to do anything if Jade will just call 911 for him. So she agrees, but discovers that the phone is still dead. So Jermaine tells her that there's a cell phone in the desk drawer (where the hell were the cell phones throughout the rest of the movie, like when Jermaine was trying to find his missing wife‽).

Now the torture is almost over. We're back in the courtroom, where the judge pronounces that Jade is to get her kid back due to "evidence" presented by Jade's new lawyer, Jermaine. Frankly, I think he only traded his wife's life for the kid's life. Jermaine walks towards the exit only to find Jasmine blocking the way. The camera work tries unsuccessfully to hide the height difference between the two characters while they give us more exposition so that we can learn that Jasmine has left her husband, served him with divorce papers, is now setting up her own abuse center, and that Jermaine wants to try and make it "like it used to be" but that Jasmine says it can never be the way it used to be. And she wheels herself out of the courtroom, now disabled from being shot.

Apparently I'm a masochist, because I went to look at the special features and found an alternate ending. And I watched it. Thank goodness they cut that out. So, while Jermaine is on the floor begging his wife not to die, and Jade is looking for the cell phone, Eric is lying dead on the floor. But since this is a movie, we all know that the bad guy never dies the first time. So he gets up and puts his foot on Jermaine's hand when Jermaine notices and goes for the gun on the floor. Eric takes his time aiming his gun at Jermaine's head. He takes exactly the amount of time necessary for Jade to shoot him in the back ... again. So it's not so much an alternate ending as a shoddy horror-movie double-take ending, because everything else is pretty much the same. Eric is still dead, Jasmine is still shot, Jade is still the one who kills Eric, and Jermaine still owes Jade.

*According to the director commentary (yes, I watched it), the video of Jermaine having sex in his wife's car happened within the last couple of weeks, not several years ago, even though that's what Jermaine said when Jasmine got the tape.  Eric, back when we thought he was "Terrance the buddy", actually helped Jermaine hookup with the waitress so that he could be there to secretly tape them in the parking lot.  But the scene where all this happens never got filmed, so the only thing we know about that affair is what Jermaine said about it, which is that it happened after they got married, but "years ago".

Oh my god - this movie is part of a trilogy!  There are two more of these movies out there!  I will not be reviewing them for ya'll - I think it's safe to assume the rest of them are just more of the same.  I wonder if they thought it was clever making a movie called Trois into a trilogy?

So the moral of the story is, if a man says he wants a threesome to "expand and explore his marriage", he's lying - he really just wants permission to fuck another woman; if a woman likes having a threesome, she might be gay or freaky and that's bad; and "you can put yourself out there, but you never know what you're gonna get - people be crazy yo", so don't fuck up your marriage by having a threesome.

By the way, this is the movie that gave me the inspiration for ending my reviews with "where I watch the crap so you don't have to".  You're welcome.


You've been reading Poly-ish Movie Reviews with your host, Joreth, where I watch the crap so you don't have to!

Episode 23 - Same Time, Next Year

posted Apr 20, 2017, 1:13 PM by Joreth InnKeeper   [ updated Apr 20, 2017, 1:13 PM ]

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Same Time, Next Year (1978) 
http://movies.netflix.com/WiMovie/Same_Time_Next_Year/60010851 - Netflix
http://www.imdb.com/title/tt0078199/ - IMDB Database
http://www.amazon.com/Same-Time-Next-Ellen-Burstyn/dp/B0001CNRBG/ - Amazon
http://www.amazon.com/Same-Time-Next-Year/dp/B005EVW814/ - Amazon Instant Video

I first saw this movie as a kid. It was playing on some B-movie channel like USA or Lifetime, and it had already started when I came upon it. I was flipping channels, and I only stopped only because I noticed Alan Alda. Being a huge fan of the show M*A*S*H, I had to see what Hawkeye was up to.

I actually have very little memory of the movie itself. All I was left with was the basic premise, which is of a man and a woman who are both married, but not to each other, who meet each other every year at the same time, at the same place, for a weekend affair. The movie spans about 25 years, and the idea of lasting 25 years with the same person, other than their spouse, touched me, even as young as I was.

So, I had added it to the Poly Movie List based on my memory of a feeling, rather than actually remembering the plot. And I decided eventually that I ought to watch the movie again, just to make sure it really deserved to be included on that list. And after re-watching it, y'know what? I'm not really sure.

We first meet George and Doris on the night that they meet each other. George is an accountant with a client in the area, and Doris is a housewife whose in-laws hate her, so she comes up to a nearby convent / retreat every year on this weekend to avoid them. The two find themselves drawn to each other in the restaurant of the bed & breakfast where George is staying and they spend the evening gazing into each other's eyes and talking deeply to each other. The next morning, they wake up to discover that they've had an affair.

Normally, cheating spouses is a pretty good guarantee of a movie getting itself banned from the Poly Movie List. But this one was a little different. George and Doris are not unhappy at home and looking to replace their respective spouses. They each love their respective spouses and have happy lives with them. It's just that they are so drawn to each other, but their affair does not change the love they have for their spouses, and they agonize over the duplicity throughout the entire movie.

[inserted movie clip about agonizing over cheating]

Also, this movie is different from most cheating movies because it's not a one-time thing, or over a short span of time. Their affair lasts for the bulk of their adult lives. They grow old together, and their affair deepens to a true love of each other. Yes, it's true, they do not tell their spouses, and that deceitfulness is what makes me waver on whether or not to keep this movie on the list. But George and Doris not only love each other, they grow to be fond of each other's families and spouses too, even though they have never met them.

George and Doris play a game, where they each tell one story that paints their spouses in a negative light, and then another story that paints them in a positive light. [inserted movie clip with some examples of telling the two stories]  These scenes are so touching, as they live vicariously through each other's stories and get to know each other's spouses from afar. We see them live through each other's pain and anguish, and we see them grow through each other's joys. We see George and Doris each take different life paths and learn how to grow back together.

And now, 2 small spoilers, but not the end of the film.

SPOILERS:

There are 2 particular scenes that make me hesitate to strike this movie from the list. In one of them, Doris confides that her husband may leave her, and she is distraught. In spite of her relationship with George, she does not want to lose her relationship with her husband. Doris goes to the car to get something, and her husband calls at that moment looking for her, believing it to be the number of the room where Doris is staying at the convent.

Although this is George's chance to finally get Doris away from her husband, he doesn't. He does his best to patch up their marriage and, when given the perfect chance to reveal the nature of his relationship with Doris, he covers it up for the sake of restoring their marriage. Yes, it's a lie, and I can't overlook that. But George's intentions are to do what he thinks would make Doris happiest, not what he can get out of the situation.

[inserted movie clip of George trying to fix Doris' marriage and rejecting the opportunity to reveal the deception]

The other scene is when George reveals that his wife found out about Doris, and has known for many years. But George's wife never said a word. She kept silent and allowed George to continue his annual trips, knowing full well that another woman was waiting for him. She loved George that much. And George, upon learning of her silence to allow him his indiscretion, falls in love with his wife all over again for her strength, her courage, and her compassion. Doris, too, admires the woman.

[inserted movie clip of George telling Doris that his wife learned of their affair]

So, I think the reason why I keep wanting to keep this movie on the list, is because this is what I imagine polyamorous relationships are like when the participants don't know that an option like polyamory exists. This is the story I believe that some of us could have found ourselves in if we had lived in a time and place where open relationships were just not allowed. This is what I think happens when we are not allowed to express ourselves and our love when love is bigger than our rules.

This is a movie about 4 people, even though we only ever meet 2 of them - about the love and desire that encompass them, through presidential terms, through wars, through changing fashions and political ideals, and over the course of a quarter of a century. So you may disagree with me about whether or not this is a poly movie, and I think some very valid points can be made on that side of the debate that I can't argue with. But I'm going to keep it on the list anyway.

You've been reading Poly-ish Movie Reviews, with your host, Joreth, where I watch the crap so you don't have to!

Episode 22 - Whatever Works

posted Mar 15, 2017, 4:00 PM by Joreth InnKeeper

Whatever Works (2009) 
www.imdb.com/title/tt1178663/ - Internet Movie Data Base
http://dvd.netflix.com/Movie/Whatever-Works/70114945 - Netflix
www.amazon.com/Whatever-Works-Larry-David/dp/B002LMV7RA/ - Amazon

Whatever Works by Woody Allen, was recommended to me by my best friend. I'm not a Woody Allen fan. I get awfully tired of his neurotic-old-man-gets-hot-younger-woman schtick that seems to be the only kind of relationship he is capable of writing about. But my best friend told me that this movie has a functional poly relationship as sub-characters and that I should watch it.

So I did.

I was pleasantly surprised. The main character IS a neurotic old man who gets a hot younger woman, but I liked it anyway. Boris is a cranky, atheist, nihilist, genius, egomaniac, and other than the nihilism part getting tiresome rather early, I actually kinda liked his character. He complained about religion and foolish people, which I can TOTALLY get behind. His constant dismissive and condescending attitude towards others, assuming that everyone is "dumber" than him because he's a genius, got annoying, but otherwise, I found I had a lot in common with the old crank.

[inserted movie clip of description of Boris]

I'll have to spoil some of the plot in order to introduce the poly sub-plot, but I'll try to leave off as many details about the main story as possible and I'll avoid the ending. The short story is that the poly sub-plot really is poly.

One day, Boris comes home to find a pretty, homeless girl from Mississippi on his doorstep begging for food. Against his better judgement, he lets Melody come inside to eat, where she weasels her way into free room and board for the next month. She's a stereotypical "dumb blonde", cheerful, and religious. And yet she manages to develop a crush on cranky old Boris anyway.

He resists her for a while, but eventually she grows on him and they end up married, as people who have nothing in common and don't seem to like each other much seem to do in movies. About a year later, her fundie Christian mother shows up on their doorstep, prayin' to Jaysus and trying to save her daughter from the sinful life in New York and marriage (that she refuses to acknowledge) to a man old enough to be her daughter's grandfather. We find out that Marrietta (Melody's mom) was recently dumped by her husband, John, for her best friend and she is now homeless, broke, and divorced.

As she plots to find another man for her daughter, Marietta ends up getting introduced to one of Boris' friends, a professor of philosophy named Brockman (of course) who finds her physically attractive in spite of her out-of-touch religious views. He asks her out on a date, where she gets drunk and shows him pictures of Melody as a child pageant queen. Brockman thinks her pictures have a "primitive" brilliance to them and convinces Marietta to show them to an art critic friend. Brockman also seduces Marietta and all her religious views fly right out the window.

The art critic friend, Howard, falls in love with Marietta's "primitive" photography, and also with Marietta, and the two men move in with her in a happy threesome, where the fundie religious southern Christian turns into a hedonistic, polyamorous, artist living in New York.

[inserted movie clips describing the triad]

So I liked the movie because the protagonist was a cranky, atheist, son of a bitch, and the poly triad had no drama or issues whatsoever. Marietta discovered much more of herself through her relationship with her two male partners, which is exactly what happens in good poly relationships, or any complex and healthy relationship, really. The relationship worked and the movie ended with the triad still functioning and happy.

I recommend the movie for a bit of light viewing, and it definitely deserves to be on the poly list, even though the poly family is not the main plot focus.

  
You've been reading Poly-ish Movie Reviews, with your host, Joreth, where I watch the crap so you don't have to!

Episode 21 - Portrait Of A Marriage

posted Feb 15, 2017, 1:25 PM by Joreth InnKeeper   [ updated Feb 15, 2017, 1:25 PM ]

Portrait Of A Marriage (1990) 

www.imdb.com/title/tt0098897/ - Internet Movie Data Base
https://dvd.netflix.com/Movie/Portrait-of-a-Marriage/70050529 - Netflix
www.amazon.com/Portrait-Marriage-Janet-McTeer/dp/B000F4RHBQ/ - Amazon

I had such high hopes for this movie!  It's based on the true story of renowned feminist writer Vita Sackville-West, during the early part of the 20th century.  It follows her through her marriage to diplomat and writer Harold Nicolson, and her affair with her childhood friend, novelist Violet Keppel.  Vita and her husband Harold had several same-sex affairs each during their life-long marriage, including a relationship between Vita and famous author Virginia Woolf.  So I was expecting this movie to rank up there with Carrington, which I also reviewed and loved.

But this movie did not have the same feel.

On to the spoilers, because the entire plot of this movie is the reason why I'm not going to recommend it, so I can't explain why without giving away the whole thing.  

So, Vita has a best friend named Violet, as a teen.  Later, she marries Harold, and they have 2 sons.  Then, one day, he comes home from one of his extended diplomatic missions, and confesses that they cannot have sex for 2 months because he has contracted some kind of STD.  He then reassures his wife that she is the ONLY woman in his life.  After realizing this means that her husband is gay, or at least bi, Vita gradually shakes off the shock and decides that it doesn't matter, since he remains devoted to her and the children.

Before she reaches acceptance, however, she has to adjust to the shock of the news, and turns to her best friend, Violet, for support, only to have Violet use the opportunity of vulnerability to seduce Vita.  What follows next is a torrid love affair filled with train-wreck drama that I just can't understand.

Vita and Harold develop an "understanding" that Harold will have "friends" while he is out of town, but he loves his wife and puts her as his priority.  This is the perfect setup for introducing a lesbian relationship for Vita, right?  Harold has his own same-sex partners, and he *gets* the idea of loving more than one, or at least loving one and having sex with many, so she should be able to do something similar, right?

No, he hates the idea of his wife spending time with Violet, although it is quite some time before it is revealed that their relationship is sexual.  He suspects early on, but there is a lot of secrecy and deception.  Which brings me to the next part of the drama that shouldn't be there.

Vita has a husband who has lovers on the side and she accepts it in a sort of DADT arrangement.  So she should totally be expecting her husband to now allow her the same freedom, right?  Particularly since she's a feminist and flaunts "tradition" by wearing masculine clothing (which her husband loves, by the way).  So, once she learns of her husband's infidelity, and once she reaches the conclusion that their marriage will continue and she will overlook them, it seems a natural next step to come clean to her husband and admit a love for women too.  What's good for the gander is good for the goose and all.  

But no, she tries to hide her relationship with Violet for a long time, using the convenient excuse that women often develop close friendships and often go on vacations and such together.  So Vita tries to hide her lesbian relationship from her husband, while her husband gets jealous over the idea of his wife having another lover.  To his credit, however, he bends over backwards to give her the freedom to write and go on trips, and even to remain friends with Violet, providing their marriage & family isn't thrown into disarray.  I have to say that's a reasonable request, given the circumstances.

Next is Violet.  She absolutely loathes the fact that Vita is married and begs on more than one occasion for Vita to dump her husband and run away with her instead.  Remember, this is the 1920s and '30s.  Women just didn't *do* that.  But Violet absolutely cannot understand when Vita says she loves both her husband and her girlfriend and cannot choose between them.  Vita feels there are too many sides to her personality to be encompassed by only one partner.  With her husband, she can be the happy homemaker, wife, mother, and gardener that she feels truly content as.  But with her girlfriend, she can be the proud and powerful Amazon, running wild and free, that she *also* enjoys.  This sounds PERFECT for a poly setup.

Again, no.

Violet wants Vita all to herself and constantly tries to sabotage Vita's marriage.  She even steals Vita away for a few weeks while Harold is out of town and not around to notice.  Vita dresses as a young soldier on honeymoon with his "wife" and they pass as a hetero married couple.  They exchange vows, and both women feel as though they are truly married.

Eventually, however, Violet announces that she is getting married to Dennys, who is smart, charming, handsome, and completely besotted with Violet.  He is so besotted, in fact, that he will "do as he's told", meaning he will agree to whatever stipulations in the marriage that Violet insists on, just to be married to her.  Violet insists on having a "business arrangement" marriage, where there is absolutely no sex, and Dennys agrees.  Again, a perfect poly setup.  Violet gets to marry a man who will not touch her, and would probably agree to an open arrangement if it had been offered, and with the marriage, Violet gets a degree of freedom not otherwise granted to women in this era.  Violet could have her relationship with Vita, if Vita only pointed out how her husband has his lovers on the side, and if Vita acknowledged Harold's legitimate concern about the family and kids.  Everyone could get what they want!

Instead, everyone is completely and utterly miserable.

So, the wedding day for Violet and Dennys approaches, and Violet begs Vita to "save her".  Remember, this is a marriage that Violet herself arranged, and arranged to suit her orientation, no less.  Vita refuses to "rescue" her because Harold admonishes her for even considering the chaos and disruption this would bring to Dennys, himself, and their families.  So instead, Vita kidnaps Violet on her wedding day and brutally rapes her, screaming "is this how he feels?"  What. The. Fuck?

Then, Vita and Violet make up and Violet convinces Vita to run away with her and they hatch an elaborate plot to "elope" again.  Dennys gets wind of it and sets up a meeting with Vita, in which he tries to convince her not to steal his wife.  He points out that neither woman understands anything about money and asks how they will support themselves (sounding very much like a father who disapproves of his daughter's choice in boyfriends).  Neither woman can answer how they will support themselves, but that doesn't stop them.  Caught in the middle, Violet announces that she will go to stay with her mother for a few weeks to think about things before making any sort of decision.  Dennys gives her an ultimatum, telling her if they want to elope, they will do it now or never.  Violet says she'll be gone by the next evening.

So the women make their plans and Dennys discovers the details, running to stop them from leaving at the train station.  Violet has gone on ahead and Dennys finds only Vita.  He proceeds to badger her into telling him where Violet has gone, which she does, and then insists on going with Vita to join her.  And for some unfathomable reason, Vita tells him when and how she plans to meet up.

So the next morning, Vita arrives at the dock only to find Dennys already at the head of the line to buy tickets, when the cashier announces that he only has 2 single occupancy rooms left.  Dennys buys them both, then gives one ticket to Vita.  They take the voyage together, seeming to become friends as they laugh and share meals together on the trip.

When they arrive, Vita sees Violet in the hotel lobby before Dennys enters, and runs up to her to demand to know why Violet is still there (apparently they were supposed to meet somewhere else), but Violet is hysterical for a reason I never found out.  Vita tries to get Violet to hide before Dennys finds her, but Dennys arrives just at that time and everyone goes up to Violet's room.  While there, Violet lays in bed to "recover" from whatever frightened her, and she says how lovely it is to be with the two people she loves most in the world, and to have them getting along.  The 3 of them seem to be having a grand old time, with Dennys toasting over champagne "to the three of us!"  Then, without warning, Dennys gets up, writes a note, and storms out of the room.

The note says he cannot do this and he leaves, only to go back to England where he tells Vita's mother (I have no idea why) that Dennys and Violet had sex all the time.  Why Vita's mother needs to know that a married couple she is not related to has regular sex, I haven't a clue.  Then he finds Harold and tells him where the women are staying and the two men go to get their wives back (Harold, who had been told by Vita that she was leaving him for Violet, was totally distraught and can't understand how Violet managed to make Vita turn her back on her children and blames Violet for the whole thing).

So the men show up, and again there is a huge screaming match between all involved where the women insist on being together and the men insist that the women come home.  Eventually, the men leave the women's hotel room, dejected.  Vita goes to a nearby cafe to smoke and brood, as she does, and Harold finds her and has a chat.  He tries to sow dissension and suspicion by asking Vita if she is *sure* that Violet was really faithful (again, the hypocrisy - why the fuck does it matter to Vita? She was married to Harold & had sex with her husband, so why Vita flies into jealous rages at the thought of Violet having sex with anyone else, let alone her own husband, is a constant source of bafflement to me).

Naturally, Vita runs screaming back to the hotel "when was the last time you had sex with him?" and "how dare you lie to me!" as she corners Violet on the stairs and slams her up against a wall.  Then, for some unknown reason, she tears up the stairs and backs herself into their room, brandishing a chair like a lion tamer, as the other three come skidding into the room after her.  Literally, they all run into the room and slide to a stop.

Violet begs Dennys to tell Vita the truth, that they have never had sex as per their arrangement, to which he does.  Vita then looks with horror at Violet (more bafflement on my part) and says "I just can't trust you" and leaves.

She never sees Violet again.

What looks like 20 years later, Vita gets a call from Violet while she's out in her garden with her husband, apparently happy and settled in monogamous, married life.  Vita freaks out until Violet reassures her that nothing is wrong.  But Vita refuses to go see her and hangs up the phone in tears, runs to her tower bedroom and locks herself in to smoke and brood, which brings us back to the very beginning of the movie, where she starts the tale in flashbacks.

Next, we see a very, very old Harold, writing a letter to Violet, where it is implied that Vita has just died and Harold is sending Violet a ring that Vita used to wear, believing that Vita would want Violet to have it because Violet gave that ring to Vita when they were teens.  It is also implied that Vita and Violet never saw each other after that train-wreck of a fight amongst the four of them, but that Harold knows how important Violet was to Vita and he is happy that Vita had such a strong love with Violet.  Like, what?  He's happy that the two women had such a strong bond even though the last time anyone saw each other was like 40 years ago and he was part of the scheme that broke them up.  But yay, they loved each other?

So, we have 4 people: 2 married couples, each with an "arrangement" of sorts that should have allowed for a quad or N poly relationship and a natural understanding of how it is possible to love more than one person, to love someone and have sex with others, or to have different kinds of love for different kinds of people.  I could see there being personality clashes, but I just did not understand the drama, the screaming, the tears, the rages.  I don't understand how a person can themself love more than one person and yet be insanely jealous at even the thought of their lover having other partners.  And bisexuality seems to be the easiest way for non-poly people to grasp the whole poly thing - one of each where one can provide what the other can't.  And then there's the real life biography itself, which explicitly stated that Vita and her husband each had multiple lovers while remaining married to each other for decades.

This movie should have been a classic poly story.  Even the biography sounded more poly than the movie ended up being.  It's not the ending of various relationships that make this story not-poly, it's the screaming, jealous, drama that made it not poly.  The movie portrayed the women as jealous, spiteful, deceitful, selfish women who completely screwed over their husbands.  Even the gay husband with his same-sex lovers and STD was a more sympathetic character, and his willingness to overlook his discomfort with his wife's lesbian relationships as long as it didn't destroy their family should have set this up perfectly for a poly arrangement.  And knowing that, in real life, the main character did, in fact, continue to have relationships outside of her marriage (as did her husband), this movie could have portrayed all of this in a much more poly light, like the way Carrington did.

But it didn't.  I really wish I could put this movie on the poly list, because even with the drama in Carrington, it was still clearly about people who understood the concept of multiple loving relationships.  But this one was not.  It only showed this one multiple-person relationship and the "multiple" part is what destroyed it.  Knowing that Vita, in real life, continued to have outside relationships leads me to believe that her life was more poly than this movie portrayed it, like Carrington.  Which then leads me to suspect that the script-writer disapproved of open relationships (or at least of women having same-sex affairs) and wrote that tone into the story.  I'm highly disappointed.

  
You've been reading Poly-ish Movie Reviews, with your host, Joreth, where I watch the crap so you don't have to!

Episode 20 - Summer Lovers

posted Jan 16, 2017, 2:33 PM by Joreth InnKeeper   [ updated Jan 16, 2017, 2:37 PM ]

Summer Lovers (1982) 
www.imdb.com/title/tt0084737/ - Internet Movie Data Base
movies.netflix.com/WiMovie/Summer_Lovers/60025215?trkid=2361637 - Netflix
www.amazon.com/Summer-Lovers-82-Ws/dp/B0007XBKLI/ - Amazon

If you want to see a poly movie, I can think of no better example than Summer Lovers. This movie stars Daryl Hannah and takes place in the very early 1980s in the romantic and exotic setting of a beach-side villa in Greece. Cathy and her boyfriend Michael decide to spend the summer in Greece, lounging around, soaking up the sun, and seeing the sights. Until Michael sets his sights on Lina. Lina is a French archaeologist working in Greece for the summer and renting a villa within sight of Cathy and Michael's villa. Michael runs into her one day and follows her to the beach, while Cathy is off exploring on her own. With what seems to be very little setup, Michael and Lina have sex.

Michael, feeling guilt-ridden, immediately confesses to Cathy, who, understandably, leaves him in a fit of anger and hurt. Michael seeks consolation in Lina's arms that night.

The next day, Michael and Cathy attempt to reconcile, but it's difficult. Cathy wants to understand why Michael would cheat on her and what he sees in Lina. So she seeks Lina out. Cathy arrives at Lina's villa, and they have a little chat. Cathy discovers that she actually likes Lina and invites her to dinner with the two of them, much to Michael's surprise and discomfort.

What follows is the tale of a couple, damaged by infidelity, opening their minds and their hearts to another woman. We see the growing pains as Cathy struggles with her feelings of betrayal that war with her interest and appreciation of Lina. We see Michael, caught between his long-time love and a new, intriguing woman. We see tug of war between Lina's desire and love for Michael and Cathy, and her need for independence and freedom.

This movie takes us on the whole ride, from a very common beginning that starts with an indiscretion and leads to a family. We see the good times and the bad. This movie does not gloss over the bumps in the road as three people attempt to adjust to a non-traditional relationship, but it is also not a morality play against the evils of sex and non-traditional love. I think a lot of people can identify with this movie because I think a lot of people come to polyamory from very similar situations.

I think this is probably the best example of polyamory in film out there. It shows us the whole range of emotions and gives us characters we can relate to and situations in which we can understand how the characters got there, probably because most of us have been there ourselves. No poly movie list would be complete without this film on it.

You've been reading Poly-ish Movie Reviews, with your host, Joreth, where I watch the crap so you don't have to!

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Episode 19 - Y Tu Mamá También

posted Dec 15, 2016, 6:28 AM by Joreth InnKeeper

Y Tu Mamá También (2002) 
www.imdb.com/title/tt0245574/  - Internet Movie Data Base
www.netflix.com/title/60023237 - Netflix
www.amazon.com/tu-mamá-también-Diego-Luna/dp/B00KE3B6H4 - Amazon

I'm not sure which poly movie list this was on, but I don't think it was poly. It wasn't a bad movie, and it was definitely about multiple sex partners, but I don't think it was poly.

The summary at Netflix says "When rich teenagers Tenoch and Julio meet the alluring, older Luisa at a wedding, they try to impress her with stories of a road trip to a secret beach, and ultimately convince her to come with them. What follows in director Alfonso Cuaron's Oscar-nominated film -- one of the most talked-about pics of 2002 -- is an escapade involving seduction, conflict and the harsh realities of poverty."

The two main characters, Julio and Tenoch, each have girlfriends that have gone to Europe for the summer. The teenagers meet Tenoch's cousin's wife, Luisa. They find out that she is interested in visiting a beach, so they make up a mythical perfect beach that no one knows about and invite her to come with them to find it, hoping to score with her but ultimately knowing that they never will.

Luisa visits a doctor, and later that night gets a drunken phone call from her husband, telling her that he cheated on her. So she calls up Tenoch and asks if the offer to visit the beach is still open. The three of them take off across the Mexican countryside to find a beach that doesn't exist.

Along the way, we discover that the boys have each slept with each other's girlfriends, and that Luisa initiates sex with them both independently. Each revelation sets off a spark of jealous rage, culminating in Luisa jumping out of the car and attempting to ditch them both. She only returns after they agree to her long list of demands, including that neither boy fights, contradicts her, or even speaks without her permission.

Eventually, they find a beach and spend a couple of days frolicking in the water and getting drunk, which seems to repair everyone's friendship. Luisa initiates sex with them both again, only this time simultaneously and they have a threesome, including some guy-on-guy activity. But the boys wake up the next morning, appearing to regret it, or at least, regretting the copious amounts of tequila they drank the night before.

Luisa decides to stay at the beach with the new friends she's made among the locals, and the two boys go back home. There's still a little more to the story, but since I watched it for its poly content, and that is the end of the possible poly content, I'll stop there.

I didn't like the characters. The two boys are rich, spoiled, entitled, potheads who spend their entire time drugged out of their heads, drunk, and masturbating. When they're not actively masturbating, they're talking about women's body parts or insulting each others' body parts. They don't seem to have any other interests at all besides pot, beer, and tits. Not "women" or "girls", but boobs, specifically. Maybe vulvas too, they just talk about boobs incessantly. I'm not even sure how they got girlfriends in the first place, except I seem to remember being a teenager and not really having much in common with some boyfriends except that we liked to fuck so that probably explains how a couple of douches like these kids found partners.

They were jealous and hypocritical and boastful and deceitful and, well, the stereotype of teenage boys. Luisa seemed the most complex of the characters, but she just wasn't quite enough to carry the whole movie by herself. Her motivation for randomly accepting an invitation to spend a week driving around a foreign country with a couple of boys she didn't know, and to further entice them both into sex with no lead-up and no prior reciprocated interest or attraction, makes sense in light of the glimpses we did get into her regular life. It's just that the scenes were too filled with the boys cussing at each other and generally being obnoxious teens, that I couldn't really like the movie.

I will say, though, that foreign films can do sex scenes better than American films. This movie opens with the two boys fucking their girlfriends, and although the dialog is terrible, the scenes feel realistic. Maybe it's the use of handheld cameras, or the lack of cheesy music and soft lighting and camera filters, or maybe it's the frantic teenage-boy fucking, but I thought the sex scenes, for all that they were softcore, were the best parts of the movie. Even awkward sex, done right, is better than smooth sex done wrong.

So, it was an interesting film. It was a sexual exploration movie. If you're into that, you might want to see this film. But it wasn't a poly movie. It wasn't about relationships or love. It was about sex. Which has its place, just not on a poly movie list.

You've been reading Poly-ish Movie Reviews, with your host, Joreth, where I watch the crap so you don't have to!

Episode 18 - My Girlfriend's Boyfriend

posted Nov 15, 2016, 5:10 PM by Joreth InnKeeper   [ updated Nov 15, 2016, 5:15 PM ]

My Girlfriend's Boyfriend (2010) 
www.imdb.com/title/tt1447793/ - Internet Movie Data Base
https://dvd.netflix.com/Movie/My-Girlfriend-s-Boyfriend/70125551 - Netflix
www.amazon.com/My-Girlfriends-Boyfriend-Alyssa-Milano/dp/B004IN75DU - Amazon

The description from Netflix reads "Jesse Young is a girl who has everything and maybe too much of it when she finds herself falling for two seemingly perfect guys: sexy but struggling writer Ethan and button-down advertising exec Troy. Can she find true love with two men at the same time, or is somebody going to get a broken heart?" The tagline reads "What would you do if you found your one true love... twice?"

This had more potential than almost any other possibly-poly movie I'd seen in a long time, especially for a movie that wasn't on any poly lists but that Netflix recommended to me based on adding other poly movies to my queue. The title and the line "Can she find true love with two men at the same time" made the cynical part of my brain pause in condemning it for yet another Hollywood choose-between-them romantic comedy plot. "This one," I thought "might actually be poly." I went into watching this movie with high hopes, but wary that those high hopes would lead me to a big fall.

My Girlfriend's Boyfriend stars Alyssa Milano, whom I've had a straight-girl-crush on for pretty much my entire life, so even with my usual misgivings about modern romantic comedies, I had to give it a try. Alyssa, as Jesse, is entirely convincing in her character and she put me back into my own history with similar situations. Jesse is a waitress who meets Ethan, a sexy-in-that-geeky-way writer who has been trying, unsuccessfully, to get published for years and whose latest meeting with a publisher has convinced him that he will never make it as a writer.

Jesse, we learn right away, is getting over some kind of relationship ending and is not yet ready to try again. But then she meets Ethan, and seems to decide that her uncle was right - it's time to take that leap and go for love. She gives Ethan her phone number. But as Ethan leaves Jesse's cafe, a tall, handsome, charismatic man walks in through the front door. It seems that, when Jesse decides to leap, she goes for a swan dive off Mt. Everest. Troy, our handsome advertising executive, gets Jesse's phone number too.

The two men couldn't be more different from each other, and yet, they're really not all that different. Ethan takes Jesse on those cheesy sorts of dates that end up being the most romantic dates ever because of how personal and intimate they are. Troy takes Jesse on those perfect sorts of dates that end up being the most romantic dates ever because of how flawless they are. Jesse is smart and funny and sarcastic (and beautiful) and it's easy for me to see why both men like her (as opposed to the romantic lead in Cafe au Lait). As time progresses, we see her struggling with her growing feelings and her secret.

When monogamous people date, there is this unspoken, implicit rule that when you're "just dating", it's OK to go on dates with more than one person. It's even acceptable not to tell the people you're on dates with that you are going on dates with other people. The point is to maximize your time to more efficiently select The One, and since he is The One, he doesn't need to know about all the applicants who didn't make the cut. So the fact that Jesse has a secret isn't surprising, and I can completely understand how she could get herself into this predicament. In the beginning, many people don't need, or want, to reveal everything - this relationship may not go anywhere, or it may go somewhere bad. Better to wait and see if this relationship is worth keeping before revealing something that makes you vulnerable.

The problem is that, oftentimes, we don't know that this relationship is worth revealing that secret until we've kept that secret past the point where we should have revealed it. By then, the longer the secret is kept, the harder it is to reveal it because you not only have to reveal something that might destroy your relationship, but you have to reveal that you've been keeping that secret this whole time, adding broken trust and a false foundation onto whatever horror your secret is. It's a terrible predicament to be in. At first, the relationship isn't worth revealing your secret over. Then, when the relationship is worth it, it becomes too important to risk losing by revealing the secret. Rock, meet Hard Place.

This is going to be really difficult because I don't know how to end this review without giving away spoilers. So I'm going to say something here that needs to be said and is going to sound like a spoiler ... but it really won't be.

This is not a poly movie.

But this movie sucked me in, made me cry, made me root for the characters, put me back inside the headspace of a person I no longer am and could no longer remember, and I was completely surprised.

This is not a poly movie, but it's also not your typical romantic comedy. There is no "girl meets wrong guy that we know is the wrong guy because she sleeps with him too soon while Mr. Right pines away for her and eventually wins her away from the obvious bastard that she has chosen instead" plot. This movie doesn't make the same tired old plot turns, it takes totally different plot turns. As cynical as I can be, I feel as though I should have seen some of these things coming, because, now that I know the ending, I can see how it was set up. But either the writing or the acting (or both) was so touching and so real to me, that I didn't see it coming until the reveal.

One of the criticisms I read about this movie was that the two concurrent plots of Jesse and her two men were boring by themselves, without the tension of the Big Secret. Personally, I thought that was the movie's strength. Too often, especially in romantic comedies, we have to introduce some wild conflict - usually a conflict that would solve the whole problem if the characters just talked to each other. And every time I yell at the screen "this whole thing could be solved if you just do X and all this pain and suffering you're feeling would be over!", someone else reminds me that we wouldn't have the movie if they did the reasonable, rational thing, so shut up, Joreth, and watch the movie.

And I HATE that! Reporters and TV producers regularly approach me for their shows only to reject me when they find out that I don't usually feel jealous in my relationships, we don't argue all that much, and when we do, it's usually solved with a long discussion or two and not so much with the fighting in public or screaming and name-calling, and that I don't hate my metamours. For some reason, people feel the need to include massive amounts of drama* in their entertainment (and their lives). Now, there are certainly stories that I enjoy that include huge conflicts - like lovers being separated by war, or epic battles of good vs. evil, or, even better, epic battles of fundamentally flawed people vs. other fundamentally flawed people.

But a relationship that doesn't have lying, lack of communication, fights, breakups and reconciliations, and all the rest of the contrived bullshit that writers put into them can still be an interesting story. Yes, it's true, without the tension of the "secret", if we watched each of Jesse's relationships individually as its own movie instead of together, there isn't a whole lot of conflict. Jesse seems pretty happy with each of her men, and each man seems pretty happy with her. And I LIKED that.

I absolutely loved the fact that there wasn't a clear loser. I loved that she didn't choose "the wrong one". I loved that one guy wasn't an asshole and the other was perfect. I loved that we didn't have to make one guy a villain or to kill one of them off in order to justify her choosing the other one. I loved that because it felt more real to me. It made much more sense to me why she was with each man. I am too often disgusted with romantic comedies because I can't understand why the characters are together, since they don't seem to really like each other. In this movie, although I actually liked Ethan better as a match for *me*, I could totally see why Jesse would have been in each relationship. It felt REAL.

Had I written this movie, it would not have gone in the direction it did go. But, given the direction it went in, I have to say that it ended exactly as it should have. How she ended up with who she ended up with has been written before, although rarely, so it was a bit of a twist in that regard. I usually feel, in stories that take this path, that the writer wrote himself into a corner and had to use a cheesy plot device to write himself out. I didn't feel that way this time. It is a difficult path that the writer chose for his story, and one, as I said, I would not have taken if I were writing it. But, for once, I didn't hate that the writer took this direction.

In addition, the movie threw a bit of a curveball at the end that I've seen happen in a couple of other stories, and it happens to be a curveball that I have a particularly strong feeling about - it being a personal issue of mine. But this curveball is so rarely well-handled, and in real life it's handled even less well, that to see the character give exactly the response I so hoped for made the movie for me.

The other criticism I read was that the surprise plot twist was too easy to figure out. As I said above, after having watched the movie, I can now see all the places where it was set up, and I feel as though I should have seen it coming. I won't say what those clues are because I don't want to give it away if you haven't seen it (and even if you can guess the ending before it ends, the movie is still better not knowing it ahead of time), but I did notice at the time when a couple of clues presented themselves that something funny was going on and, in hindsight, it's completely obvious.

But, the point is that, sure, the plot twist and the Big Secret could have been figured out. There is a very fine line between too easy to figure out and completely unable to figure out because the setup went so out of its way to trick us that it ended up being implausible, and where that line is for any individual may vary, so I don't think any movie could possibly get it perfectly right. What I think a movie has to do is make it *possible* to figure out so that it's plausible and realistic, but so engaging that the audience is too busy feeling the story to sit back and analyze it to find the clues. And I think that's exactly what this movie did.

So, it's not a poly movie. It was a romantic comedy. And I recommend it anyway.

You've been reading Poly-ish Movie Reviews, with your host, Joreth, where I watch the crap so you don't have to!

The word "drama" gets a bad rap in poly circles because of its misuse.  I write about this problem often, so if you're interested in more discussion about it, visit my blog or Facebook page.  But the short footnote is that when *I* use the word "drama", I do not mean any old conflict.  All relationships have conflict.  When I use that term, I mean that when conflict arises (or, more likely, is manufactured), the response to the conflict is so extreme as to be performative in nature.  Meaning that sometimes shit happens like a death in the family or personality clashes and that's to be expected, but when a person goes out of their way to arrange their life in such a manner as to invite conflict, and then to deal with the conflict in unproductive ways that almost seem deliberate, that invite attention or an audience or participation from those outside the conflict, and do so repeatedly without any attempt made to learn more productive behaviour for dealing with conflict in the future, that's "drama".

These are the people who follow their partners to public venues and then have shouting matches in the parking lot, perhaps with the throwing of chairs or beer bottles, that result in venue security intervening, instead of attempting productive conflict resolution techniques or simply leaving someone, mostly because the only examples they've seen of dealing with conflict is from people who have an audience like reality TV or movies.  As some article once said, we often learn how to fight by watching things like Friends, where people who are supposed to be buddies throw out some zinger to hurt each other.  This doesn't make any sense for friends to fight this way, but it makes perfect sense if those friends have writers who have to entertain an audience with the fight.  So we then grow up thinking that flinging insults at the people we care about that other people will laugh or "oooh" at is the way that people fight.  This is what I mean by "drama".  It's performative.  That's why I use that term specifically, because drama invokes "the theatre" and is "dramatic", or perhaps even melodramatic.  It most definitely does not include all forms of conflict, or even strong emotional feelings during conflict.

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Episode 17 - Butch Cassidy & The Sundance Kid

posted Oct 15, 2016, 10:11 AM by Joreth InnKeeper   [ updated Mar 11, 2017, 3:23 PM ]


Butch Cassidy & The Sundance Kid (1969) 
www.imdb.com/title/tt0064115/ - Internet Movie Data Base
www.netflix.com/title/26308213 - Netflix
www.amazon.com/Butch-Cassidy-Sundance-Two-Disc-Collectors/dp/B000EXDS5M/ - Amazon

This is a difficult movie for me to categorize. First of all, it's a western all about Butch Cassidy and the Sundance Kid. But it's not a typical Western either. Not being very familiar with the actual history (or legends) about them, I couldn't tell you how historically "accurate" the movie is, but it was an enjoyable movie. The characters are gruff old Western bank robbers. They're bad guys but they're likable bad guys. The difficulty I have is the poly content.  Now, keep in mind that this movie is first and foremost, a western.  The poly story line is not the main focus of the story, although it takes place for more or less half the movie, so if you watch it, go into it with that perspective. 

First, we see Butch and Sundance hanging out at a brothel, and there was no jealousy or weirdness about sharing women. So I thought "a movie about not getting jealous over prostitutes is NOT about polyamory". But that wasn't where the poly story was. Next, we discover that Sundance has actually hooked up with a schoolmarm in his version of a long-term relationship. He shows up when he shows up, but they obviously have real feelings for each other and it's not just a sexual release. Sundance admires and likes Etta as a person, and Etta clearly is strongly attached to Sundance.  Sorta like how I do relationships, actually.

The poly part comes because of her feelings for Butch. But that's also where the question comes in.

In the second main scene with Etta, after she has spent a night with Sundance, Butch comes riding up on a new bicycle and tempts her outside for a romantic and touching bike ride. Afterwards, Etta asks him a loaded question ... [inserted movie clip]  So clearly, there are also very strong romantic feelings between Etta and Butch. But Etta does not consider it to be a "relationship" and they do not have a sexual relationship at all.

This is one of those relationships that lives on the very fuzzy borders of the definition of polyamory. On the one hand, Etta establishes that her relationship with Sundance is a clear-cut case of a romantic relationship, what with their feelings for each other and their sexual activity and all. She appears to have similar feelings for Butch, but she does not acknowledge a romantic relationship with him, possibly because of the lack of sexual activity.

But as I said in my review of Carrington, many polys acknowledge the existence of NSSO or Non Sexual Significant Other relationships. The three of them take off together across the country and into South America where they live as a more or less happy threesome, just without any sex between Etta and Butch. Is it poly if Butch always sleeps alone but is part of the same household?

Since I have titled my list "Poly-ISH Movies", I think I'll include this movie on the list, but I have mixed feelings about it. I think it differs from Carrington in that the non-sexual partners in Carrington acknowledged a family and even a romantic bond with each other, but that bond is not acknowledged by all in this movie. I think that's what makes the difference to me, so I don't know that I would classify this as a poly movie. But it has so many other elements of a poly family, that I don't think I can really criticize someone who disagrees with me and thinks that it IS a poly movie.

So, in a rare move for me, I think I'll add it to the list so that people can see it, but I'm going to leave it up to you all to decide for yourselves if this is a poly movie or not without me giving a declarative statement about whether it is or is not a poly movie. I do, however, think it's a terrific example of how messy relationships are and why, although we can have clear-cut definitions that say X definitely IS but Z definitely ISN'T, when it comes to taxonomy, either in biology or sociology, X and Z may be clear, but Y might be something in between. And that's OK.


You've been reading Poly-ish Movie Reviews, with your host, Joreth, where I watch the crap so you don't have to!

To subscribe on iTunes or leave a review, visit https://itunes.apple.com/us/podcast/poly-ish-movie-reviews-by/id994404536?mt=2

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